Callender



(No Model.) 4Sheets-Sheet 1.

R. OALLENDER. COMBINATION ORGAN STOP ACTION.

No. 420,435. Patented Feb. 4, 1890 (No Model.) 4 Sheets-Sheet 2; R.OALLENDER. COMBINATION ORGAN STOP ACTION.

No. 420,435. Patented Fb. 4, 1890.

I filrazion 4 Sheets-Sheet 3.

(No Model.)

R. CALLENDER. COMBINATION ORGAN ST-OPIAOTION.

No. 420,435. Patented Feb. 4, 1890.

a Prrzrks, mm mmm (No Model.) I P 4 Sheets-Sheet 4.

R. CALLENDER.

v COMBINATION ORGAN STOP ACTION. No. 420,435. Paented Feb. 4, 1890.

MMWMM UNITED STATES" PATENT OFFICE.

ROMAINE CALLENDER, OF ST. THOMAS, ONTARIO, CANADA, ASSIGNOR OF ONE-HALFTO JOHN PIPER MARTYN, OF SAME PLACE.

COMBINATION ORGAN-STOP ACTION.

SPECIFICATION forming part of Letters Patent No. 420,435, dated February4, 1890.

Application filed April 26, 1888. Renewed October 18, 1389. Serial No.327,399. (No model.)

To all whom it may concern.-

Be it known that I, ROMAINE CALLENDER, professor of music, of the cityof St. Thomas", in the county of Elgin, in the Province of Ontario,Canada, have invented a certain new and useful Improvement inOrgan-Actions, of which the following is a specification.

The object of the invention is to design an organ in which the performerhas complete control of all the resources of the instrument and isenabled to produce various combinations without any effort and Withoutinterrupting his performance; and it consists, essentially, in providinga number of stops so connected to the organ'action that they may be setinto various combinations by the performer before commencing to play,simple mechanism being provided by which the performer can instantlychange the action from one combination to another without any effort orbreak in the continuity of the music,

substantially as hereinafter more particularly explained.

In the drawings, Figure l is a perspective view of my organ-action,showing the parts operated from the grand-organ knee-push. Fig. 2 is anenlarged view of the adjustable combinations for my first and secondmovements. Fig. 3 is a view of my solo and damping actions. Fig.4 is aview showing my divided swell and automatic voX humana.

In the drawings like letters and figures of reference indicatecorresponding parts in the different figures.

A represents a knee-push similar to the ordinary knee-swell B, withwhich my improved organ is of course provided. C is the grand-organ rodcarried in suitable bearings on the front of the organ and acted on by aspring'D, so as to hold it in its normalposition, as shown in Fig. 1.

E is a bar pivoted on the end of the crankrod F. This rod extends to theback of the instrument, and has a crank G formed on it.

II is a rolling rod carried in suitable journals, as indicated, andhaving a crank I formed on its'end, the cranks G and I being connectedby the push-bar J, so as to transmit the rolling movement of the rod Fto the rod H. The rod H has three cranks K, L, and M formed on it, thecrank K being connected to the block N by the rod 0, the crank'L to thedamping-action P by the rod Q, and the crank M is connected by the rod Sto a block similar to the block N on the opposite end of the instrument.Both blocks are supported above the slides T bya pivoted frame U, and ineach block is fitted anumber of verticallyadjustable plungers V, aseparate plunger being provided for each separate slide T, and isarranged so that when allowed to drop below its block the particularplunger so dropped will fall in front of a projection I/V, formed on thetop of its slide. Consequently, when the block is caused to move back bythe rolling action of the rods F and H, the plunger so dropped engageswith its slide, and as each slide is suitably connected to a separatemute a separate set of reeds is brought into action by each separateslide, and only such slides as are connected to the blocks by theirplungers will move, and only such sets of reedsas may be thus connectedto the blocks will be brought into action, except such reeds as may bebrought into action by the manipulation of the ordinary stops of theorgan.

In order to produce the necessary rolling movement to the rods F and ILIarrange the pivoted bar E so that its end may be dropped in front of theend of the grand-organ rod O,whieh rod may bepressed against the end ofthe bar Eby the performer pressing against the kneepush A, thusproducing the necessary rolling movement to the rod F, and through itsconnection with the rod H a corresponding rolling movement is impartedto the latter rod, which latter rod being connected, as described, tothe blocks N and R, the combinations controlled by the said blocks maybe instantly brought into action by the performer pressing against theknee-push A, the rods F and H, with their connections, being so arrangedthat they instantly resume their initial position the moment that thepressure is removed from the end of the pivoted bar E.

Before describing how I control more than one combination. through theknee-push A, I shall first explain briefly the mechanism by which theplungers V are operated. In ad dition to the ordinary stops of theorgan, I

provide an independent set of stops, each stop being connected to aseparate plunger; but as all the stops are connected to their respectiveplungers in the same manner it will be sufiicient for the purpose ofthis specificationto describe the mechanism connected with one stop. Thestop X has a wedgeshaped block Y formed upon or attached to its end.This block is located behind a crank Z, formed on or attached to therolling rod a. An arm I) is attached to the rod to and connects with asticker 0. This sticker is 0011- nected to the weighted end of thepivoted lever d, which lever is attached to the plunger V by a flexibleconnection located on the opposite side of the pivot of the lever. lVhenit is desired to connect the particularplunger to its slide, the stop Xis pulled out, and its block Y, pressing against the crank Z, presses upthe said crank, which action rolls the rod (1, causing the arm I) tolift the sticker 0, raising the weighted end of the lever (Z, therebypermitting the plunger V to fall below its block in front of theprojection IV, and thus forming the connection before described betweenthe bloek and slide. \Vhen the stop X is pushed in, the weighted end ofthe lever (1 causes the said end to fall and instantly raises theplunger V out of connection with its slide.

WVith the view of enabling the performer to arrange two sets ofcombinations before commencing his performance, I form at the oppositeend of the grand-organ rod 0 a notched recess e, designed to receive thehooked end of the bar f, which is pivoted on the crank formed on the endof the rolling red It. The opposite end of this rod h has a crank formedon it, connected, as indicated, to a crank 2', formed on the end of therolling rod j, carried in suitable bearings and running parallel withthe rod H. Like rod H, the rod j has three cranks 70, 'm, and a, thecrank 7c being connected to the block 0 by the rod 1), the crank m tothe damping-action P by the rod q, and the crank a is connected by therod 8 to a block similar to block 0 on the opposite end of theinstrument. Both blocks are similar to the block J and itscorrespondingblock and are carried by similar pivoted frames, and eachcontains corresponding plungers, which operate in conjunction with thesame slides; but as the block N and its corresponding block on theopposite end of the instrument are connected to the rolling rod H andthe block 0 and its corresponding block on the opposite end of theinstrument to the rod j the plungers in one pair of blocks will have noeffect on their particular slides during the period that theiroperating-rod is stationary, while the plungers on the other pair ofblocks are brought into action by the rolling of their particular rod.

IVith the view of instantaneously bringing one set of blocks and itsconnections into action and instantaneously throwing the other set outof connection with the operating mechanism, I provide the followingsimple mechanism for producing the desired effect: I provide adouble-crank rod 2, one crank of which is connected to the pivotedcrank-lever E by a piece of leather u or other flexible material. Theother crank t is connected by a similar piece of material o to a crankw, formed on the end of the rod 00. A crank y is formed on the oppositeend of the rod 17, and is connected by a piece of leather .2 or otherflexible material to an arm 2, connecting to a rolling rod 3, which hasa projecting link 4:, form ed on it and extending below the block 5,attached to the end of the push-stop 6. The bar f is connected to asimilar push-stop 7 by mechanism similar to that just described,extending from the bar E to the puslrstop G, and the two push-stops 6and 7 are connected together by a pivoted bar 8, so that when thepush-stop 6 is pressed in the push-stop 7 is simultaneously pushed out,and as the pushing in of the stop 6 causes the barE to drop so that itsend shall be immediately'in front of the end of the grand-organ rod 0 itfollows that the bar f is simultaneously raised clear of the grandorganrod 0 and the combination controlled by the barf is thrown out ofaction; By this arrangement two or more combinations may be brought intoaction by the grand-organ knee-movement, and when the combinations areset one combination will always be on, but may be changed for another atany time by merely pushing in the push-stops (5 or 7, which may beinstantaneously done without breaking the continuity of the music. Thecombinations may be entirely distinct and different from each other,depending of course upon the sets of reeds in the organ. The loudercombinations, if desired, may include the softer ones. If desired,theadjustability of the combinations may be dispensed with, themanufacturer in such cases setting the combination permanently, placingfixed substitutes for the plungers V necessary to produce thecombination desired.

The advantages of the arrangement by which the instantaneous changes ofcombinations may be effected will be appreciated by any musician.

In addition to the arrangement I have described for effecting thevarious combinations, I provide simple means by which the full power ofthe organ maybe instantaneously secured by the simple movement of asingle 12, formed on the rod 13. This rod is suitably journaled and hasa crank 14 formed at each end, and each crank lat is connected, as

indicated, to a pivoted bail 15, extending over the plunger ends of theweighted levers d.

Consequently,when the push-stop 9 is pressed in, its block 11 pressesdown on the crank 12,

causing the rod 13 to roll, and through its cranks 14 draw down thebails 15, so as to depress all the levers d which have not al ready beenset in some combination, thus bringing the full power of the organinstantaneously into action. The push-stops 9 and 10 are connectedtogether by the pivoted bar 15 16, in order that the push-stop 9 may bethrown out by simply pressing in the pushstop 10, the parts describedbeing so arranged that the moment the push-stop 10 is pressed in thebails 15 are raised, so as to permit the :0 weighted levers d to resumetheir initial position.

In order to enable the performer to arrange his combinations beforecommencing to play, and at the same time to permit him to use theordinary draw-stop movement with the soloaction alone or with both, Iarrange a damping-action by which any stop, if drawn, will only speak solong as the grand-organ kneemovement is not used, the knee-movement 0 bywhich the combinations are brought into action being arranged tosimultaneously raise the damping-action, which allows the mutes toclose. The instant that the knee-movement is released to dispense withthe combi- 3 5 nationsthe damping-action descends into connection withthe mutes it has previously closed. Any stop may be drawn out or pushedin while the damping-action is on or .otf or when it is coming into orgoing out of 0 action.

As described at the commencement of this specification, thedamping-action P is connected by the rod Q to the rolling rod H, and isalso connected to the rolling rod h by the 5 rod q, so that no matterwhich combination is being used the action of the knee-move ment Araises the damping-action at the time that the particular combination isbrought into action. 1

As all the stops connected with the damping-action operate the same, Iwill merely describe the mechanism of one stop, showing how it operatesthe slides T and is affected by the damping-action. 17 is a stop onwhich the wedge-shaped block 18 is pivoted. 19 is a bent wire connectedto the rod 20 and extending below the block 18. 21 is a similar bentwire connected to the rod 22 and extending below the block 18. Each ofthe rods 20 and 22 has two or more fingers 23, extending over andresting upon the spools 24, a single spool being placed on each of theslide-operating rods 25, which are connected to the bass and trebleactions. stop 17 is drawn out, itsblock 18 is brought into contact withthe bent wires 19 and 21, and these wires, through their rods 20.and 22and fingers 23, operate the slide-rods 25, so as to cause them to movetheir respective slides T, causing the reeds they are connected with tobe in aposition to speak when their respective valves are acted upon bythe keys. When the combinations I have described in the early part ofthis specification are brought into action, it is of course necessarythat the reeds operated by the stop 17 should be damped, and it is withthat View that I provide the damping-action P. This action is con-nectedto the blocks 18 by the links 26. Consequently, when the damping-actionis raised, as before described, the blocks 18 will be clear of the bentwires 19 and 21, and the slides T, operated by the stop 17, will bepermitted to spring back and damp their respective reeds, leaving inaction only such slides as are operated by the combination.

\Vith the view of enabling the performer to swell either the treblewithout the bass or the bass without the treble, or both treble and basstogether, all from the same knee swell, I introduce what I term anautomatic divided swell. Many beautiful effects are brought out by meansof this important device, and by the use of it an organ becomeswonderfully improved in its expressive powers.

Vith the old form of swell the solo-stop could never be properlymanaged, as the swelling in the melody made the accompaniment in thebass much too prominent, and would frequently prove so strong that thesolo-stop could not be heard. The soft stops borrowed from louder onesby half-opening of the mutes are always objectionable, their tone beinguneven and indistinct, as well as defective in pitch.

The automatic divided swell provides a proper accompaniment for eithertreble or bass solo work, and enables the performer to give perfectexpression to a melody or prominent part.

My automatic divided swell consists in arranging a divided swell-shutterso that each half of the shutter shall be completely under the controlof the knee-swell, stops being provided by which the connection betweenthe knee-swell and the shutter may be instantly made or broken andeither the bass-swell or the treble-swell brought into connection withthe knee-swell at the will of the performer.

27 is the bass-stop and 28 the treble-stop. 29 is a crank-rod suitablyjournaled and one end of it resting on the block 31, attached to l thestop 27, and connected at its other end by means of a piece of leatheror other ,flexible material to the inner end of the crankrod 30, whichhas a weight 32 placed on it. The other end of the crank-rod 30 isconnected by a strap 33, made of leather or other flexible material, tothe hooked finger 34:, which, when the stop is pushed in, projects overthe end of the swell-rod 35. The opposite end of this finger 34E ispivoted on the boll-crank 36, the other end of which is connected to theswell-shutter 37, which covers the treble-swell.

When it is desired to swell the bass, the stop 27 is drawn out, pullingits block 31 clear of the end of the crank-rod 29, thus permitting theopposite end of the said crank-rod 29 to be pulled down by the action ofthe weight 32, which weight will also cause the crank-rod 30 to rock,and through the strap 33 draw up the hooked finger 3i clear of theswell-rod 35, thus releasing the bell-crank 36 and allowing thetreble-swell 37 to close, leaving the bassswell under the control of theknee-swell.

It will be seen that the mechanism between the treble-stop 28 andbass-swell shutter is the same as that described between the bass-stopand the treble-swell. It follows, therefore, that by the simpleadjustment of either the bass-stop or the treble-stop the bass-swell orthe treble-swell is instantly brought into connection with theknee-swell, or they may both be brought into connection together, theswell or swells which is or are in action being completely under thecontrol of the performer.

A disadvantage in the use of the voxhumana has hitherto been that if thefull organ was to be used immediately after the vex humana had been inuse it was necessary first to push in the stop controlling it to avoidthe waste of wind and the unmusical effect it produced with the fullorgan.

My automatic vox humana may be used with any appropriate solo-stop, anda change to full organ or other combination can be made at once withoutany change of stops, as the action of the grand organ suspends themotion of the vox humana until the kneemovement has been released, whenit the stop has been left out the fan will immediately revolve asbefore. This desirable effect is secured by the following simplemechanism: 38 is the automatic vex-humana stop, on the end of which awedge-shaped block 39 is fixed. This block when the stop is closedpresses against the crank l0 and holds the rod 41, on which the crank isformed, in such a position as to tighten the cord 4-2, thereby holdingthe lever a3, which is pivoted at 4:4, and when the stop is opened thecord 42 is released and the lever 43 is drawn down by the action of thespring a5, pushing down the sticker l6, which presses open the palletd7, thus putting into action the fan 48. 49 is a cord which connects thelever 43 with an arm formed on the rolling rod H, and 50 is a cord whichconnects the lever 43 with the rolling rod j. The moment that the grandorgan is put into action the cords l9 and 50 are tightened, so as toraise the lever 43 when the sticker l6 is lifted from the pallet 47,which will instantly close. Consequently the vex humana is stopped themoment that the grand organ action is brought into play.

It will. be noticed that the various parts of 4 the action of myimproved organ, although controlled by one movement, are yet distinctfrom and independent of one another. The mute connections are broughtunder control in such a manner that without interfering with the regularstop-action any part of the new action can work directly on the muteswithout hindering the action of some other parts. Of the actiongenerally it will be a mistake to think that it is only suited for thecultivated musician. \Vhile it is sure of his support, it claims withconfidence the approval of every one using an organ, as the simple partsof the action give to the most inexperienced player the power ofproducing effects at once striking and plea sing in their character.

That I claim as my invention is- 1. Two or more series of stopsindependently connected to the mutes, substantially as described,whereby each series of stops may be set for a different musicalcombination without interfering with the ordinary stops of the organ, incombination wit-h the rolling rods connected with said stops and withthe kneepush, and by which the performer can. in stantly change theaction from one combination to another without any eifort or break inthe continuity of the music, substantially as and for the purposespecified.

2. A series of stops independently connected to the mutes, substantiallyas described, whereby various musical combinations may be set withoutinterfering with the operation of the ordinary stops of the organ, incombination with the rolling rods connected with said stops and with theknee-push and by which the stops forming the combinations may beinstantly brought into action and the ordinary organ-stop, which may atthe same time be set, simultaneously damped, so that they will notinterfere with each other or break the continuity of the music,substantially as and for the purpose specified.

3. One or more series of stops independently connected to the niutes,substantially as described, whereby each series of stops may be set fora diiferent combination, in combination with the push-stops and weightedlevers, by which the full power of the organ may be instant-aneouslysecured by the simple movement of a single stop without interfering withthe setting of the combinations, substantially as and for the purposespecified.

4. One or more series of stops independently connected to the mutes,substantially as described, whereby each series of stops may be set fora diiierent musical combination, and one or more solo-stopsindependently connected to the mutes, in combination with adamping-action so arranged that any solo-stop if drawn can only speakso. long as the grandorgan knee-movement is not used, the kneemovement,by which the combinations are brought into action,being arranged tosimultaneously operate the damping-action so as to ICC close all thestops not connected with the combination, substantially as and for thepurpose specified.

5. A divided swell-shutter, substantially as described, whereby eachhalf of the shutter shall be completely under the control of a singleknee-swell, in combination with stops by which the connection betweenthe single knee-swell and each half of the shutter may be instantly madeor broken in order that the bass-swell or the treble-swell may bebrought into connection independently or simultaneously with each otherand with the single knee-swell, substantially as and for the purposespecified.

6. A series of slides T, independently connected to their respectivemutes or m echanical movements, in combination with mechanism by whichthe said slides may be independently or collectively operated upon,substantially as and for the purpose specified.

7. A series of slides T, independently connected to their respectivemutes or mechanical movements, in combination with mechanism by whicheach slide is independently connected to its respective draw-stop,substantially as and for the purpose specified.

8. A block N, supported above the slide T by the pivoted frame U andconnected by suitable mechanism to the knee-push A, in combination withthe plungers V, suspended Within the block N by mechanism connected tothe stops X, so that one or more slides may be connected to the block Nfor the purpose of bringing it within the control of the kneepush,substantially as and for the purpose specified.

9. A crank-rod arranged in connection with the slide T and operated by ablock pivoted on a draw-stop, in combination with mechanism arranged toelevate the block clear of the rod, substantially as and for the purposespecified.

Toronto, April 17, 1888.

ROMAINE CALLENDER.

In presence of- 4 CHARLES C. BALDWIN, CHAS. I-I. RIGHES.

